DOCSLIB.ORG

A Proposed Campanile for Kansas State College

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Proposed Campanile for Kansas State College A PROPOSED CAMPANILE FOR KANSAS STATE COLLEGE by NILES FRANKLIN 1.1ESCH B. S., Kansas State College of Agriculture and Applied Science, 1932 A THESIS submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE KANSAS STATE COLLEGE OF AGRICULTURE AND APPLIED SCIENCE 1932 LV e.(2 1932 Rif7 ii. TABLE OF CONTENTS Page INTRODUCTION 1 THE EARLY HISTORY OF BELLS 3 BELL FOUNDING 4 BELL TUNING 7 THE EARLY HISTORY OF CAMPANILES 16 METHODS OF PLAYING THE CARILLON 19 THE PROPOSED CAMPANILE 25 The Site 25 Designing the Campanile 27 The Proposed Campanile as Submitted By the Author 37 A Model of the Proposed Campanile 44 SUMMARY '47 ACKNOWLEDGMENTS 54 LITERATURE CITED 54 1. INTRODUCTION The purpose of this thesis is to review and formulate the history and information concerning bells and campaniles which will aid in the designing of a campanile suitable for Kansas State College. It is hoped that the showing of a design for such a structure with the accompanying model will further stimulate the interest of both students, faculty members, and others in the ultimate completion of such a project. The design for such a tower began about two years ago when the senior Architectural Design Class, of which I was a member, was given a problem of designing a campanile for the campus. The problem was of great interest to me and became more so when I learned that the problem had been given to the class with the thought in mind that some day a campanile would be built. Up to that time very little work had been done on such a project. Some literature on bells and towers had been collected and a very few rough sketches on the design of such a tower had been made. This latter work ended, however, upon the graduation of the student who made them. With so little work accomplished on such a project, I felt that it would be quite beneficial to myself and to the 2. college, to at least study and design a Proposed Campanile. With this view in mind, then, I chose the study of this subject. The first part of the thesis takes up the history of bells, how they are made and tuned, and the required quali- fications. Also, a short history and description of the early campaniles. The old primitive methods of playing the chime or carillon are contrasted with the modern methods of playing. The last part of the thesis has taken up the studies that I have made in developing a suitable design as well as a discussion of each. Blue prints showing the plans, ele- vation, and section of the proposed tower are illustrated, as well as photographs of a model which was made to study the design from various views and angles. The method used in the gathering of this material was to make myself as well acquainted as possible with this project by reading every important work on the subject that I could find. The information used in designing the tower has been attained through the experience and training received in my architectural design classes. The informa- tion thus obtained was used to describe and illustrate the Proposed Campanile. 3. THE EARLY HISTORY OF BELLS There seems to be no trustworthy evidence of any bells in existance before the Christian Era and the only instru- ment which was used to summon the Romans to public baths or processions was a probable cymbal or resonant plate of metal which emitted some sort of rattle. The earliest Latin word for a bell (Campana) is late Latin of the fourth or fifth century A.D., and the first application of bells to churches has been ascribed to Paulinus, Bishop of Nola, Campania about 400 A.D. There is, however, tion of this story. It has been maintained with somewhat more reason that Pope Sebinianus (604) first used church bells, but it seems clear that they were introduced into France as early as 550. In the seventh century Bede mentions a bell brought from Italy by Benedict Biscop for his abbey at Wearmouth, and speaks of the sound of a bell being well known at Whithy abbey at the time of St. Hilda's death in 680. St. Dunstan hung many bells in the tenth century, and in the eleventh century they were not uncommon in Switzerland and Germany. Several old bells are extant in Scotland, Ireland, and Wales. The oldest are often quadrangular, made of thin iron plates, hammered and riveted together. A well known specimen is St. Patrick's bell preserved at Belfast which 4. is called "the bell of St. Patrick's will". It is six inches high, five inches broad, four inches deep, adorned with gems and gold and silver filigree-work and is inscribed 1091 and 1105 but it is probably the bell alluded to in Ulster annals in 552. In these early times bells were usually small. Even in the eleventh century a bell present- ed to the church at Orleans weighing 2,600 pounds was thought to be large. To these scanty records of the early history of bells may be added the enumeration of different kinds of bells by Hieronymus Magius. 1. Tintinnabulum, a little bell for refectory or dormitory. 2. Petasius, or larger broad-brimmed hat bell. 3. Codon, Orifice of trumpet, a Greek hand bell. 4. Nola, a very small bell used in the choir. 5. Campana, a large bell, first used in the Latin church towers. 6. Squilla, a shrill little bell. BELL FOUNDING The earliest bells were probably not cast, but made of plates riveted together. Later when casting was adopted, the earliest founders travelled about the country, setting 5. up a temporary foundry to cast bells wherever they were wanted. The chief English bell makers lived in London, York, Gloucester, and Nottingham and included Miles Graye (1605); Samuel Smith, father and son, of York (1680-1774); Mot, sixteenth century; Lester and Pack (1750); Christopher Hodson of London (who cast "Great Tom" of Oxford, 1681); Richard Phelps (1716); and H. Bagley (eighteenth century), all of whose works are still in high repute. The white- chapel Bell Foundry (now Mears and Stainbank) established by Robert Mot in 1570, incorporated the business of the Rudhalls, Lester and Pack, ±helps, Briant, and others, and is now one of the leading firms of bell founders. Others are Gillett and Johnston, Croydon, and Taylor and Company, Loughborough, the founders of "Great Paul" for St. Paul's Cathedral (1881). The only makers of bells in America are the Watervliet Foundry (Andrew E. Meneely and Alfred C. Meneely), Watervliet, New York, and The J. C. Deagon, Incorporated, Chicago, Illinois. The bell is first designed on paper according to the scale of measurement. Then the outer mold is formed in an iron case lined with loam which is a mixture of special adhesive kinds of sand, cow hair, and other ingredients. A "strickle board" is fixed to an arm and central bar and 6. is swept around the loam until the required shape has been formed in the case. Then the inner mold, called the core, is made which consists of a structure built up of bricks, tier upon tier, and then coated with the same loam as that used in the outer case. This mold is given it's shape by the use of another strickle board in the same manner as was used in the shaping of the outer case. These are the first or rough coats applied to the molds which are then placed in an oven to be thoroughly dried. This process may take two or three days in the case of medium sized bells and longer in the case of larger bells. After the molds are dry they are brought out and coated a second time with a finer mixture of loam, and then return- ed again to the ovens to be dried. After this the surface of the molds are blacked and "sleeked" so that the castings may come out clean and smooth. Most bells have some kind of an inscription upon them and it is at tais stage of the making that the words are stamped in the outer case. The molds are then put together, the case filled over the core, and the metal having been brought to the correct temperature is then poured into the mold. The bell-metal is a mixture of copper and tin in the proportion of about four to one. In Henry III's reign it was about two to one. 7. In Layard's Nineveh bronze bells it was ten to one. Zinc and lead are used in the making of small bells. The cooling process takes about twenty-four hours in the case of moder- ate size bells or as much as a week in the case of larger ones. The case is then lifted off, the core knocked out and the bell is trimmed and sandblasted to remove the black and grease. In the American foundry this work is done with the use of a buffing wheel to bring a high polish to the surface of the bell. BELL TUNING Much curiosity exists and questions are often asked as to how the bells of a carillon are tuned. The process as a whole demands large experience, much scientific knowledge, and the possession of an ear which is responsive to extreme differences in pitch. Tuning a carillon is a matter of finest craftsmanship. Van der Straeton, says a fine caril- lon is as precious as a violin by Stradavarius.
Load more

Recommended publications
  • Newslett Sp03
    Number 31 Spring 2003 www.chimes.cornell.edu [email protected] (607) 255-5350 NEWSLETTER Marisa Piliero LaFalce ‘96, Editor Physics + Bells + Pizza = Party! Catherine Jordan ’03 Whoever said physics isn’t fun? When you add bells to anything, it’s a great time! This February we had the good fortune to meet with Edith Cassel, Professor of Physics, who teaches a course “The Physics of Musical Sound.” Each year, as part of her course, she brings her class to the tower for a tour and Chimes concert. She also participated in a panel discussion on the Physics of Bells during the Chimes Rededication Celebration in 1999. For our special session, Professor Cassel came armed with diagrams, charts, bell models, xylophone bars, mallets, and a great sense of humor. For the next hour we explored the size, shape and composition of bells, and how they produce the A page beautiful music that we take for granted. Quite a bit from Rick of the material was pretty confusing – for example, Watson’s why is it that a larger and more massive bell pro- journal duces a lower pitch than a smaller and less massive containing bell, yet, when you remove mass from a bell by notations tuning, it lowers the pitch? The pitch of a bell is from the Cornell related not only to its mass but its rigidity, and the Chimes thinning of the bell’s shape with tuning makes the tuning bell less rigid, and therefore it has a lower pitch. project. This page I could go on with the fun bell facts we learned! for the low C hour bell.
    [Show full text]
  • Church Bells. Part 1. Rev. Robert Eaton Batty
    CHURCH BELLS BY THE REV. ROBERT EATON BATTY, M.A. The Church Bell — what a variety of associations does it kindle up — how closely is it connected with the most cherished interests of mankind! And not only have we ourselves an interest in it, but it must have been equally interesting to those who were before us, and will pro- bably be so to those who are yet to come. It is the Churchman's constant companion — at its call he first enters the Church, then goes to the Daily Liturgy, to his Con- firmation, and his first Communion. Is he married? — the Church bells have greeted him with a merry peal — has he passed to his rest? — the Church bells have tolled out their final note. From a very early period there must have been some contrivance, whereby the people might know when to assemble themselves together, but some centuries must have passed before bells were invented for a religious purpose. Trumpets preceded bells. The great Day of Atonement amongst the Jews was ushered in with the sound of the trumpet; and Holy Writ has stamped a solemn and lasting character upon this instrument, when it informs us that "The Trumpet shall sound and the dead shall be raised." The Prophet Hosea was com- manded to "blow the cornet in Gibeah and the trumpet in Ramah;" and Joel was ordered to "blow the trumpet in Zion, and sound an alarm." The cornet and trumpet seem to be identical, as in the Septuagint both places are expressed by σαλπισατε σαλπιγγι.
    [Show full text]
  • Carillon News No. 80
    No. 80 NovemberCarillon 2008 News www.gcna.org Newsletter of the Guild of Carillonneurs in North America Berkeley Opens Golden Arms to Features 2008 GCNA Congress GCNA Congress by Sue Bergren and Jenny King at Berkeley . 1 he University of California at TBerkeley, well known for its New Carillonneur distinguished faculty and academic Members . 4 programs, hosted the GCNA’s 66th Congress from June 10 through WCF Congress in June 13. As in 1988 and 1998, the 2008 Congress was held jointly Groningen . .. 5 with the Berkeley Carillon Festival, an event held every five years to Search for Improving honor the Class of 1928. Hosted by Carillons: Key Fall University Carillonist Jeff Davis, vs. Clapper Stroke . 7 the congress focused on the North American carillon and its music. The Class of 1928 Carillon Belgium, began as a chime of 12 Taylor bells. Summer 2008 . 8 In 1978, the original chime was enlarged to a 48-bell carillon by a Plus gift of 36 Paccard bells from the Class of 1928. In 1982, Evelyn and Jerry Chambers provided an additional gift to enlarge the instrument to a grand carillon of Calendar . 3 61 bells. The University of California at Berkeley, with Sather Tower and The Class of 1928 Installations, Carillon, provided a magnificent setting and instrument for the GCNA congress and Renovations, Berkeley festival. More than 100 participants gathered for artist and advancement recitals, Dedications . 11 general business meetings and scholarly presentations, opportunities to review and pur- chase music, and lots of food, drink, and camaraderie. Many participants were able to walk Overtones from their hotels to the campus, stopping on the way for a favorite cup of coffee.
    [Show full text]
  • Brass Bands of the World a Historical Directory
    Brass Bands of the World a historical directory Kurow Haka Brass Band, New Zealand, 1901 Gavin Holman January 2019 Introduction Contents Introduction ........................................................................................................................ 6 Angola................................................................................................................................ 12 Australia – Australian Capital Territory ......................................................................... 13 Australia – New South Wales .......................................................................................... 14 Australia – Northern Territory ....................................................................................... 42 Australia – Queensland ................................................................................................... 43 Australia – South Australia ............................................................................................. 58 Australia – Tasmania ....................................................................................................... 68 Australia – Victoria .......................................................................................................... 73 Australia – Western Australia ....................................................................................... 101 Australia – other ............................................................................................................. 105 Austria ............................................................................................................................
    [Show full text]
  • A Replica of the Stretch Clock Recently Reinstated at the West End of Independence Hall
    A replica of the Stretch clock recently reinstated at the west end of Independence Hall. (Photograph taken by the author in summer of 197J.) THE Pennsylvania Magazine OF HISTORY AND BIOGRAPHY The Stretch Qlock and its "Bell at the State House URING the spring of 1973, workmen completed the construc- tion of a replica of a large clock dial and masonry clock D case at the west end of Independence Hall in Philadelphia, the original of which had been installed there in 1753 by a local clockmaker, Thomas Stretch. That equipment, which resembled a giant grandfather's clock, had been removed in about 1830, with no other subsequent effort having been made to reconstruct it. It therefore seems an opportune time to assemble the scattered in- formation regarding the history of that clock and its bell and to present their stories. The acquisition of the original clock and bell by the Pennsylvania colonial Assembly is closely related to the acquisition of the Liberty Bell. Because of this, most historians have tended to focus their writings on that more famous bell, and to pay but little attention to the hard-working, more durable, and equally large clock bell. They have also had a tendency either to claim or imply that the Liberty Bell and the clock bell had been procured in connection with a plan to celebrate the fiftieth anniversary, or "Jubilee Year," of the granting of the Charter of Privileges to the colony by William Penn. But, with one exception, nothing has been found among the surviving records which would support such a contention.
    [Show full text]
  • Mending Bells and Closing Belfries with Faust
    Proceedings of the 1st International Faust Conference (IFC-18), Mainz, Germany, July 17–18, 2018 MENDING BELLS AND CLOSING BELFRIES WITH FAUST John Granzow Tiffany Ng School of Music Theatre and Dance School of Music Theatre and Dance University of Michigan, USA University of Michigan, USA [email protected] [email protected] Chris Chafe Romain Michon Center for Computer Research in Music and Acoustics Center for Computer Research in Music and Acoustics Stanford University, USA Stanford University, USA [email protected] [email protected] ABSTRACT to just above the bead line. Figure 2 shows the profile we used with the relative thickness variations between the inner and outer Finite Element Analyses (FEA) was used to predict the reso- surface. nant modes of the Tsar Kolokol, a 200 ton fractured bell that sits outside the Kremlin in Moscow. Frequency and displacement data informed a physical model implemented in the Faust programming language (Functional Audio Stream). The authors hosted a con- cert for Tsar bell and Carillon with the generous support of Meyer Sound and a University of Michigan bicentennial grant. In the concert, the simulated Tsar bell was triggered by the keyboard and perceptually fused with the bourdon of the Baird Carillon on the University of Michigan campus in Ann Arbor. 1. INTRODUCTION In 1735 Empress Anna Ivanovna commissioned the giant Tsar Kolokol bell. The bell was cast in an excavated pit then raised into scaffolding for the cooling and engraving process. When the supporting wooden structure caught fire, the bell was doused with water causing the metal to crack.
    [Show full text]
  • SAVED by the BELL ! the RESURRECTION of the WHITECHAPEL BELL FOUNDRY a Proposal by Factum Foundation & the United Kingdom Historic Building Preservation Trust
    SAVED BY THE BELL ! THE RESURRECTION OF THE WHITECHAPEL BELL FOUNDRY a proposal by Factum Foundation & The United Kingdom Historic Building Preservation Trust Prepared by Skene Catling de la Peña June 2018 Robeson House, 10a Newton Road, London W2 5LS Plaques on the wall above the old blacksmith’s shop, honouring the lives of foundry workers over the centuries. Their bells still ring out through London. A final board now reads, “Whitechapel Bell Foundry, 1570-2017”. Memorial plaques in the Bell Foundry workshop honouring former workers. Cover: Whitechapel Bell Foundry Courtyard, 2016. Photograph by John Claridge. Back Cover: Chains in the Whitechapel Bell Foundry, 2016. Photograph by John Claridge. CONTENTS Overview – Executive Summary 5 Introduction 7 1 A Brief History of the Bell Foundry in Whitechapel 9 2 The Whitechapel Bell Foundry – Summary of the Situation 11 3 The Partners: UKHBPT and Factum Foundation 12 3 . 1 The United Kingdom Historic Building Preservation Trust (UKHBPT) 12 3 . 2 Factum Foundation 13 4 A 21st Century Bell Foundry 15 4 .1 Scanning and Input Methods 19 4 . 2 Output Methods 19 4 . 3 Statements by Participating Foundrymen 21 4 . 3 . 1 Nigel Taylor of WBF – The Future of the Whitechapel Bell Foundry 21 4 . 3 . 2 . Andrew Lacey – Centre for the Study of Historical Casting Techniques 23 4 . 4 Digital Restoration 25 4 . 5 Archive for Campanology 25 4 . 6 Projects for the Whitechapel Bell Foundry 27 5 Architectural Approach 28 5 .1 Architectural Approach to the Resurrection of the Bell Foundry in Whitechapel – Introduction 28 5 . 2 Architects – Practice Profiles: 29 Skene Catling de la Peña 29 Purcell Architects 30 5 .
    [Show full text]
  • About CHANGE RINGING
    All about CHANGE RINGING Provide a pop-up display explaining change-ringing to those attending and visiting the church. Page 6 METHODS RINGING METHODSThe mechanics of a bell It is traditional to start and Theswinging mechanics full-circle of a bell swinging means finish ringing with rounds full-circlethat we meansneed tothat restrict we need its to restrictmove its moveto one to oneposition. position. Not possible: Possible: Possible: Possible: The traditional notation shows each bell as a number starting at ‘1’ for the treble 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 (lightest bell) and running down the numbers to the tenor (heaviest bell). | X | | | | | | X X X | X X X X Bells are usually tuned to the major scale. If there are more than 9 bells, letters 4 8 2Provide 6 7 a1 pop-up 3 5 display 1 3explaining 2 4 5 change-ringi 6 7 8 ng to1 those3 2 attending 5 4 7 and6 8visiting 2the 1 church. 4 3 Page6 5 78 7 The basic method incorporating this rule is called … are substituted, so 0 = 10, E =11, T = 12, A = 13, B = 14, C = 15, D = 16. The1 2 basic3 4 5 6 method 7 8 incorporating this rule is called … X X X X Strokes 2 1Provide 4 3 a6 pop-up 5 8 display7 Now,explaining if change-ringiwe drawng ato linethose attendingjoining and up visiting the the church.
    [Show full text]
  • Tocs De Campanes a La Comunitat Valenciana
    Curso de campaneros de la Catedral de Pamplona Curso teórico-práctico de formación para Campanero de la Catedral. Coordinación y textos: Dr. Francesc LLOP i BAYO, Presidente de los Campaneros de la Catedral de València Convoca y organiza el Arzobispado de Pamplona y Tudela / Iruña eta Turetako Artzapezpikutza Con el apoyo técnico y económico de la Fundación Caja Madrid Curso de campaneros de la Catedral de Pamplona Índice Toques de campanas tradicionales - Curso de Introducción..........................................................1 Los principios: los toques de campanas en la ciudad de València..................................................6 Los toques de campanas en Aragón...............................................................................................6 Las campanas: toques en la sociedad tradicional........................................................................................6 Distintas maneras tradicionales de tocar las campanas..............................................................................7 El peso de las campanas..............................................................................................................................7 Tabla de pesos aproximados de campanas (bronce)......................................................................8 Tamaño y nota de la campana.....................................................................................................................9 Los toques de campanas en el mundo..........................................................................................9
    [Show full text]
  • Acoustical Properties of Ancient Chinese Musical Bells
    Proceedings of ACOUSTICS 2009 23-25 November 2009, Adelaide, Australia Acoustical properties of ancient Chinese musical bells Jie Pan School of Mechanical Engineering, The University of Western Australia, WA, Australia ABSTRACT Ancient Chinese music bells can be traced back to the Shang dynasty (1600–1100 B.C.). In addition to their significance in history and metallurgy, they provide much insight into the design of musical instruments in the early years and continue to make important contribution to acoustics due to their unique acoustical properties and rich physical mechanisms. These mu- sic bells differ from carillon/church bells and oriental temple bells by their almond-shaped cross sections, which result in two distinct strike tones (normal and side) in one bell. Through the analyse of the resonance frequencies of 64 music bells cast 2400 years ago, frequency relations are rediscovered between the normal and side-strike tones in individual bells and be- tween the normal-strike tones of adjacent bells. Acoustical qualities of each strike tone are characterised using frequency ratios between the partials and fundamental, as well as the spectrogram of the tone. The study on the scaling rules for achiev- ing the required frequency intervals between adjacent bells also sheds light on our understanding of music scales and sound balance principles in bell acoustics already recognized in ancient times. INTRODUCTION Previous studies in the acoustics of ancient Chinese music bells were mainly focused on the two-tone [1] and short- I1.1 K1.1 K1.7 I1.6 J1.6 . decay properties [2] of individual bells and their dependence J1.1 K2.10 on the nature of the bell’s modal vibration and sound radia- K2.1 tion.
    [Show full text]
  • The Bells Were the St
    1989. At the same time some of the bells were The St. Mary’s and St John’s Ringers The Bells reconfigured and the clock mechanism changed to go The Ringers are a joint band for both White Waltham around the wall rather than across the ringing chamber. and Shottesbrooke, a voluntary group under the & leadership of our Tower Captains, and we belong to the Bell Weight Note Date Founder Sonning Deanery Branch of the Oxford Diocesan Guild Bell Ringing Cwt- of Church Bell Ringers, founded in 1881. 1 4-0-0 E 1989 Recast by Whitechapel at The joint band (St Mary’s and St John’s) of bell-ringers 2 4-3-24 D 1989 Recast by Whitechapel is a very friendly group that welcomes new members. St. Mary’s and St John’s As well as our regular weekly practice sessions and 3 5-3-3 C 1989 Recast by Whitechapel ringing for Sunday service, we sometimes arrange an Churches outing to ring at other towers. 4 6-3-1 B 1989 Recast by Whitechapel 5 8-3-25 A 1989 Recast by Whitechapel We ring bells for: Sunday services and Weddings 6 12-0-9 G 1989 Recast by Whitechapel Special celebrations such as Christmas Day and St. John’s and its bells New Year’s Eve The church is set in the grounds of the Shottesbrooke Estate. The six bells are in good working order and are of some Civic occasions such as Remembrance Day antiquity. Three of the bells date from the first half of the 17th century, with the newest (the treble) being added in Practice evening is Friday 7.30 – 9p.m.
    [Show full text]
  • Introduction - a Complete Guide to the Display and | | Publication Must Be Treated Like a Printed Paper Book, | Interpretation of Site, Summary and Other Information
    | ============================================================== | ============================================================== | | | | | | TERMS OF USE | | | | | CARILLONS OF THE WORLD | The PDF files which constitute the online edition of this | | --------- -- --- ----- | publication are subject to the following terms of use: | | | (1) Only the copy of each file which is resident on the | | | TowerBells Website is sharable. That copy is subject to | | Privately published on behalf of the | revision at any time without prior notice to anyone. | | World Carillon Federation and its member societies | (2) A visitor to the TowerBells Website may download any | | | of the available PDF files to that individual's personal | | by | computer via a Web browser solely for viewing and optionally | | | for printing at most one copy of each page. | | Carl Scott Zimmerman | (3) A file copy so downloaded may not be further repro- | | Chairman of the former | duced or distributed in any manner, except as incidental to | | Special Committee on Tower and Carillon Statistics, | the course of regularly scheduled backups of the disk on | | The Guild of Carillonneurs in North America | which it temporarily resides. In particular, it may not be | | | subject to file sharing over a network. | | ------------------------------------------------------- | (4) A print copy so made may not be further reproduced. | | | | | Online Edition (a set of Portable Document Format files) | | | | CONTENTS | | Copyright March 2020 by Carl Scott Zimmerman | | | | The main purpose
    [Show full text]